tag:blogger.com,1999:blog-5433943533567726598Fri, 09 Dec 2016 14:24:47 +0000authorshipfilm historyaestheticstheorydebatefilm criticismphilosophypoliticscinematographyIngmar BergmanHoward HawksHasse EkmanSwedish cinemaJohn FordFrench cinemahistoryAlfred HitchcockTVlistsAndré BazinBritish cinemaHenry HathawayRaoul WalshmusicracismErnst LubitschactingadaptationsIransocietysociologyDavid LeanEarly cinemaMichael PowellTV historyVincente Minnellifilm historic mythsgenresinterpretationsnarrative conventionsneorealismAkira KurosawaGregg TolandJapanese cinemaJean RenoirSteven SpielbergYasujiro Ozufilm festivalnarrativespectatorshipwarAndrew SarrisAustraliaBilly WilderDavid BordwellGeorge ShermanLeo McCareyMichael MannParisRichard FleischerWilliam Wylermy thesisrealismAaron SorkinAnthony MannEmeric PressburgerFrançois TruffautGilles DeleuzeHenry KingJacques BeckerJacques RivetteJacques TourneurJean-Pierre MelvillePeter WeirSCSMIVictor Sjöströmcanoncinema and the citycriticismfallaciesfestivalsfilm noirmusic videosnational cinemascience fictionsoundstorytellingAbbas KiarostamiAfrican cinemaBlake EdwardsCary GrantCharles LangClint EastwoodDavid FincherDouglas SirkF.W. MurnauJafar PanahiJames AgeeJames Wong HoweJohn AltonJohn SturgesKenji MizoguchiMai ZetterlingManoel de OliveiraMax OphülsMax WeberMichael CurtizNora EphronOrson WellesOtto PremingerPet Shop BoysQueer cinemaRidley ScottRoberto Rosselliniaudiencecine-literacycomediescultural historydigital cinemadocumentaryethicsfascismfeminismfeminist film criticismfilm archivespsychologyreligiontimetrainswesternsA. O. ScottAdrian MartinAlexander MackendrickAng LeeAnthony AsquithArnold SchwarzeneggerAudrey HepburnBechdel TestCSICarole LombardCecil B. DeMilleClaude ChabrolConrad HallCzech cinemaDarryl F. ZanuckDean MartinEric RohmerFederico FelliniFrank BorzageFrench New WaveFritz LangGeorge CukorGeorgiaGerman cinemaHenry FondaHerbieHill Street BluesHou Hsiao-hsienIsmail MerchantJames CameronJames IvoryJames StewartJapanJean ArthurJean-Luc GodardJoel McCreaJulius JaenzonKate WinsletKatherine HeiglLaura MulveyMartin ScorseseMiami ViceMichael BayMichelangelo AntonioniMitchell LeisenNicole HolofcenerPreston SturgesQuentin TarantinoRay HarryhausenRobert BressonSam FullerSam PeckinpahSatyajit RaySchamyl BaumanStar WarsSteve McQueenWes AndersonWilliam WellmanWoody Allenanimationavant-garde cinemachildrenconferencesdancedeathdigital mediaendingsfashionfilm literatureguest writerhandheld cameramemoriesmodernityposterspostmodernityscriptwriterssilent filmsteenagersA.O ScottABBAAbraham PolonskyAl PacinoAlan LaddAlberto CavalcantiAlexander DovzhenkoAlf SjöbergAlfonso CuarónAlice BabsAllan DwanAndrei TarkovskyAndrzej WajdaAnna KarinaApichatpong WeerasethakulBabaloo MandelBasil DeardenBatmanBen JohnsonBen MaddowBertolt BrechtBertrand TavernierBette DavisBjörkBorden ChaseBudd BoetticherBurgess MeredithBuster KeatonCallie KhouriCarol ReedChantal AkermanCharles BrackettCharles McGrawCharles WaltersCharlie ChaplinChinaChristopher NolanClarence BrownClaude BinyonClu GulagerDavid AttenboroughDelmer DavesDennis HopperDerek JarmanDiane KeatonDilys PowellDire StraitsDon SiegelEaling comediesEdith HeadEdward HopperEgyptian cinemaElizabeth TaylorEmily BluntEmmanuel LevinasEnnio MorriconeEric WatsonErnest LehmanEuropean cinemaFawlty TowersFrames Cinema JournalFranz KafkaFred MacMurrayFredric MarchFrida WendelGeorg af KlerckerGeorge LucasGeorge StevensGeorges DelerueGlasgowGlenn KennyGordon WillisGunnar FischerGustaf MolanderGuy RitchieHBOHarvey PekarHayao MiyazakiHenri DecaëHenri-Georges ClouzotHenry JamesHenry ManciniHergéHoagy CarmichaelHumphrey BogartI.A.L. DiamondIndian cinemaJ. Lee ThompsonJames BondJane AustenJane CampionJason BatemanJawsJean EpsteinJean GrémillonJean VigoJoan FontaineJohn BoormanJohn FrankenheimerJohn GriersonJohn HughesJohn McTiernanJohn OrrJohn WayneJohnny CarsonJoseph BirocJoseph L. MankiewiczJuano HernandezJudy GarlandJules FurthmanJulia ChildKarl MaldenKarl MarxKazao MiyagawaKevin CostnerKing VidorKon IchikawaKristin ThompsonKrzysztof KieslowskiLauren BacallLee GarmesLegoLen LyeLinda HamiltonLisa James LarssonLouis FeuilladeLouis MalleLowell GanzLucrecia MartelMaaret KoskinenMarcel CarnéMaureen O'HaraMaya DerenMeryl StreepMichael MooreMikio NaruseMilos FormanMohsen MakhmalbafMolly RingwaldNew YorkNicholas RayNicole KidmanNorman McLarenNorwegian filmsOscar MicheauxOtis FergusonOusmane SembenePathéPatricia NealPauline KaelPeter O'ToolePeter YatesPhilip YordanPolish cinemaPolish postersRaoul CoutardRay MillandRaymond ChandlerRichard QuineRobert AltmanRobert MitchumRobert RossenRobert ShawRobert SiodmakRobert WarshowRobert WiseRobin WoodRobynRoger VadimRussell CroweSadao YamanakaSaudi cinemaSaul BassSelma LagerlöfSergio LeoneSeton I. MillerSickan CarlssonSoviet cinemaSpencer TracySt AndrewsStanley CortezStanley KramerStephanie ZacharekStepin FetchitSteven BochcoSteven SoderberghStig JärrelSupermanSwedish Film InstituteSão PauloT.E.B. ClarkeTed TetzlaffTerminatorTerrence MalickThe GuardianThe Phantom CarriageThe West WingThomas HobbesTintinTom GunningTom MilneTomas AlfredsonTony ScottTran Anh HungTruman CapoteV.F. PerkinsVeronica LakeVictor BergdahlVictor PerkinsViennaVietnamese cinemaVirginia HustonVirginia MayoVittorio De SicaW.G. SebaldWalter HillWendy HillerWilliam FaulknerWilliam LubtchanskyZhang Ke JiaZorroa-national cinemaartart historybook releaseclothescolour cinemacomicscommercialscyberpunkdeep focusdreamseconomicseditingequilibriumfrozen imagesgame theorygreat filmsla nouvelle vagueliteraturelost filmsmoralitymusicalsnewsreelsnightmaresnomadic filmmakerspaintingsphotographypropagandariverssfshort filmssuperheroessurrealismteachingtech noirterrorismtherapeutic cinematitle sequencetransnational cinemaurbanityvoyeurismFredrik on Filmhttp://fredrikonfilm.blogspot.com/noreply@blogger.com (Fredrik Gustafsson)Blogger357125tag:blogger.com,1999:blog-5433943533567726598.post-2541827909486235365Mon, 05 Dec 2016 08:00:00 +00002016-12-05T22:12:22.868+01:00aestheticsauthorshipBritish cinemaEmeric PressburgerMichael PowellA Matter of Life and Death (1946)Many years ago a friend said, after I had insisted that he watch A Matter of Life and Death (Michael Powell and Emeric Pressburger 1946), that it had a different perspective from how to view the world, and that it consequently made the spectators view the world from a new perspective too. I have always felt it was a good way of describing the film, and the films of Powell and Pressburger in http://fredrikonfilm.blogspot.com/2016/12/a-matter-of-life-and-death-1946.htmlnoreply@blogger.com (Fredrik Gustafsson)1tag:blogger.com,1999:blog-5433943533567726598.post-4672899479848132646Fri, 02 Dec 2016 08:00:00 +00002016-12-02T09:00:21.308+01:00DelaysFor research purposes I need to postpone today's real post until Monday. Apologies to all! Here is an image from Black Narcissus (Michael Powell and Emeric Pressburger 1947) to keep you company over the weekend. It is not unrelated to the next post.
http://fredrikonfilm.blogspot.com/2016/12/delays.htmlnoreply@blogger.com (Fredrik Gustafsson)0tag:blogger.com,1999:blog-5433943533567726598.post-2750488657710434540Tue, 01 Nov 2016 08:00:00 +00002016-11-01T18:37:37.160+01:00book releaseHasse EkmanSwedish cinemaThe book launchMy book about Hasse Ekman, The Man from the Third Row - Hasse Ekman, Swedish Cinema and the Long Shadow of Ingmar Bergman (Berghahn Books), has been released today and is now available in stores and online, around the world. That is pretty fabulous!
Now I feel inclined to rest on my laurels for a little while, so I am taking a November break from writing. But I will be back here soon, on http://fredrikonfilm.blogspot.com/2016/11/the-book-launch.htmlnoreply@blogger.com (Fredrik Gustafsson)4tag:blogger.com,1999:blog-5433943533567726598.post-3250267776396440870Fri, 21 Oct 2016 07:00:00 +00002016-10-23T21:36:31.948+02:00Aaron SorkinpoliticsRichard QuinePolitics in the year 2016The other day I watched the delightful It Happened to Jane (Richard Quine 1959), which is billed as a romantic comedy but is more accurately described as a perky lesson in civic participation and local democracy, set in a small town in Maine (although shot in Chester, Connecticut). It made me nostalgic for a time of civility and when people had not yet begun to go bowling alone (to use Robert http://fredrikonfilm.blogspot.com/2016/10/politics-in-year-2016.htmlnoreply@blogger.com (Fredrik Gustafsson)1tag:blogger.com,1999:blog-5433943533567726598.post-978254024524503533Fri, 07 Oct 2016 07:00:00 +00002016-10-07T12:09:39.163+02:00Early cinemafilm historyGeorg af KlerckerSwedish cinemaGeorg af Klercker (1877-1951)Defining this and that period as a "golden age" tend to get rather monotonous, as it is so common. But possibly the first period called a golden age is Swedish cinema in the late 1910s and early 1920s. On this there is some consensus. There is however no consensus about which years should be covered by it. There are at least two contenders: 1913-1924 or 1917-1924. Unfortunately, 1917-1924 seems http://fredrikonfilm.blogspot.com/2016/10/georg-af-klercker-1877-1951.htmlnoreply@blogger.com (Fredrik Gustafsson)2tag:blogger.com,1999:blog-5433943533567726598.post-6433219902363697998Fri, 23 Sep 2016 07:00:00 +00002016-09-23T09:00:10.630+02:00authorshiphistoryRaoul WalshwarObjective, Burma! (1945)There were at least four major American war films released in 1945, two of which I have written about here before: The Story of G.I. Joe, directed by William Wellman, and John Ford's They Were Expendable (by far the best of them). Now the time has come to consider Raoul Walsh's Objective, Burma! (The fourth is A Walk in the Sun, directed by Lewis Milestone.)
It is about an Allied raid into http://fredrikonfilm.blogspot.com/2016/09/objective-burma-1945.htmlnoreply@blogger.com (Fredrik Gustafsson)0tag:blogger.com,1999:blog-5433943533567726598.post-8235755769758053606Fri, 09 Sep 2016 07:00:00 +00002016-09-09T09:00:01.011+02:00Raoul WalshThe Face of Women in the Cinema of Raoul WalshThe title of this post is inspired by the article "The Place of Woman in the Cinema of Raoul Walsh," published in 1974 by Claire Johnston and Pam Cook. I read it first long ago at university and had an idea of using it for my "Theory readings" series. But re-reading it now I realised that there is not much to say about it, it is not particularly interesting, other than to suggest that the title http://fredrikonfilm.blogspot.com/2016/09/the-face-of-women-in-cinema-of-raoul.htmlnoreply@blogger.com (Fredrik Gustafsson)0tag:blogger.com,1999:blog-5433943533567726598.post-1564246872311006390Fri, 26 Aug 2016 07:00:00 +00002016-08-26T09:00:07.195+02:00teachingThe autumn semester - on teaching, thinking and the utility of itNext week I begin teaching again, after the summer break. (A summer break from teaching, not a summer break from work. The work-free phase was considerably shorter than the summer.) At the moment that means I am engaged with planning lectures and preparing clips and readings. It also means that this is the period in which I am required to read awful text books. The book I read this week, which http://fredrikonfilm.blogspot.com/2016/08/the-autumn-semester-on-teaching.htmlnoreply@blogger.com (Fredrik Gustafsson)6tag:blogger.com,1999:blog-5433943533567726598.post-4234250160150910618Fri, 12 Aug 2016 07:00:00 +00002016-08-12T09:00:16.401+02:00Taking a breakI felt like not writing a post in August and instead enjoy summer a bit more. So nothing to see here. I will be back in two weeks.
http://fredrikonfilm.blogspot.com/2016/08/taking-break.htmlnoreply@blogger.com (Fredrik Gustafsson)2tag:blogger.com,1999:blog-5433943533567726598.post-7690519199264239323Fri, 29 Jul 2016 07:00:00 +00002016-07-29T09:00:17.309+02:00Alfred HitchcockAndré BazincriticismDavid LeanOtto PremingertheoryVictor PerkinsVincente MinnelliTheory readings #3 - Film as Film by Victor PerkinsThe first piece in the series "Theory readings" was a general introduction and the second one was about Robert Warshow and "The Gangster as Tragic Hero". The next was about "The Death of the Author." Those were about articles but in this post a book is covered, due to the recent death of its writer Victor Perkins, critic and film scholar at the University of Warwick.
***
Fabulous cover http://fredrikonfilm.blogspot.com/2016/07/theory-readings-3-film-as-film-by.htmlnoreply@blogger.com (Fredrik Gustafsson)2tag:blogger.com,1999:blog-5433943533567726598.post-6141836806225467064Fri, 15 Jul 2016 07:00:00 +00002016-07-15T22:04:00.294+02:00authorshipJohn FordWilliam WellmanWilliam A. WellmanOne of the highlights of American cinema is William A. Wellman's close-ups of tired and unshaved men under stress.
Henry Fonda and Henry Morgan in The Ox-Bow Incident (1943).
When me and my brother were growing up there were two films our dad often mentioned, The Ox-Bow Incident and The Men Who Shot Liberty Valance (1962). They must have made a big impression on him, but although he did not http://fredrikonfilm.blogspot.com/2016/07/william-wellman.htmlnoreply@blogger.com (Fredrik Gustafsson)1tag:blogger.com,1999:blog-5433943533567726598.post-9166968921103012467Fri, 01 Jul 2016 07:00:00 +00002016-07-07T21:54:24.235+02:00film historyGerman cinemaGerman cinema after the warWhen it comes to German cinema the years between The Testament of Dr. Mabuse (Fritz Lang 1933) and, say, 1966, when both Young Törless by Volker Schlöndorff and Yesterday Girl by Alexander Kluge came out, are definitely unknown territory, except maybe for the publication of the Oberhausen Manifesto in 1962 by a number of young, radical filmmakers. The reasons for this empty void after the http://fredrikonfilm.blogspot.com/2016/07/german-cinema-after-war.htmlnoreply@blogger.com (Fredrik Gustafsson)5tag:blogger.com,1999:blog-5433943533567726598.post-1268875808010767497Fri, 17 Jun 2016 07:00:00 +00002016-06-17T09:00:18.269+02:00authorshipHoward HawksJohn WayneYasujiro OzuGrowing old with Ozu and Hawks
"I am also inclined to overuse the word 'old,' which actually has less to do with age, as it seems to me, than it does with familiarity. It sets a thing apart as something regarded with a modest, habitual affection. Sometimes it suggests haplessness or vulnerability. I say 'old Boughton,' I say 'this shabby old town,' and I mean that they are very near my heart." (From Gilead by Marilynne http://fredrikonfilm.blogspot.com/2016/06/growing-old-with-ozu-and-hawks.htmlnoreply@blogger.com (Fredrik Gustafsson)1tag:blogger.com,1999:blog-5433943533567726598.post-899623090138676508Fri, 03 Jun 2016 07:00:00 +00002016-06-03T16:11:49.011+02:00debateQueer cinemaracismtheoryTo see someone like yourself on the screenBelle (Amma Asante 2013) is a conventional British period piece set in the 1780s, among rich people in a stately mansion. Conventional except for one thing. The main character is black.
Gugu Mbatha-Raw as Dido in Belle
At first I was annoyed by how conventional it was but after a while I changed my mind and felt that this was actually a good thing, as this underlines the message that it is http://fredrikonfilm.blogspot.com/2016/06/to-see-someone-like-yourself-on-screen.htmlnoreply@blogger.com (Fredrik Gustafsson)9tag:blogger.com,1999:blog-5433943533567726598.post-7354008304706683056Fri, 20 May 2016 07:00:00 +00002016-05-20T09:00:20.231+02:00Charles WaltersmusicalsVincente MinnelliMisfortunes and malfunctions instead of Charles WaltersDuring his years as dancer, choreographer and director Charles Walters was highly regarded, and well-paid. He began working on Broadway in the 1930s and directed his first film in 1947, Good News. He was then part of the Arthur Freed unit at MGM and was nominated for an Academy Award for directing Lili (1954). He did choreography both on the films he himself directed as well as on other films, http://fredrikonfilm.blogspot.com/2016/05/misfortunes-and-malfunctions-instead-of.htmlnoreply@blogger.com (Fredrik Gustafsson)0tag:blogger.com,1999:blog-5433943533567726598.post-3774421669468213430Fri, 06 May 2016 07:00:00 +00002016-05-06T09:00:00.188+02:00Twenty faces behind the camera
Amma Asante
Thelma Schoonmaker
Agnes Godard
Alma Reville
Anne V. Coates
Helma Sanders-Brahms
Joan Harrison
Ruth Prawer Jhabvala
Kelly Reichardt
Leigh Brackett
Ava DuVernay
Lucrecia Martel
Muriel Box
Naomi Kawase
Márta Mészáros
Ellen Kuras
Samira Makhmalbaf
Suzanne Schiffman
Ann Hui
Virginia Van http://fredrikonfilm.blogspot.com/2016/05/twenty-faces-behind-camera.htmlnoreply@blogger.com (Fredrik Gustafsson)2tag:blogger.com,1999:blog-5433943533567726598.post-7810304774625624688Fri, 22 Apr 2016 07:00:00 +00002016-04-22T09:00:09.985+02:00film historywesternsDay of the Outlaw (1959)The term "revisionist western" is rather popular, turning up every now and then, for example when the films of Sergio Leone or Sam Peckinpah are discussed. To quote from Wikipedia, "the Revisionist Western, Modern Western or Anti-Western traces to the mid 1960s and early 1970s as a subgenre of the Western movie" and it is used for describing westerns that have a critical/cynical perspective on http://fredrikonfilm.blogspot.com/2016/04/day-of-outlaw-1959.htmlnoreply@blogger.com (Fredrik Gustafsson)7tag:blogger.com,1999:blog-5433943533567726598.post-4874567821966809735Fri, 08 Apr 2016 07:00:00 +00002016-05-03T21:38:54.878+02:00authorshipcriticismtheoryTheory readings #2 "The Death of the Author"Two years ago I wrote two pieces under the headline "Theory readings" and now it is time for another one. The first piece was a general introduction and the second one was about Robert Warshow and "The Gangster as Tragic Hero". This post is about "The Death of the Author" which, although only about books and writing, is frequently cited within film studies and is required reading at universities http://fredrikonfilm.blogspot.com/2016/04/theory-readings-2-death-of-author.htmlnoreply@blogger.com (Fredrik Gustafsson)2tag:blogger.com,1999:blog-5433943533567726598.post-7049465683214508916Fri, 25 Mar 2016 08:00:00 +00002016-03-26T12:35:33.355+01:00Nicholas RayNicholas RayThere is a peculiar restlessness to the films of Nicholas Ray, and a strong, unsettling undercurrent of violence and neurosis, in the style as well as in the characters. The struggles and the anxieties within the characters leak out and affect the mise en scène, turning every space into a potential battlefield. And that violence is frequently acted out against objects. Chickamaw crushing http://fredrikonfilm.blogspot.com/2016/03/nicholas-ray.htmlnoreply@blogger.com (Fredrik Gustafsson)2tag:blogger.com,1999:blog-5433943533567726598.post-9212966143755241503Wed, 23 Mar 2016 05:00:00 +00002016-03-23T08:40:48.561+01:00dancedocumentaryMartha & Niki (2015)Back in the days when Suede was a great band I saw them at a concert, and I was so overwhelmed by how good it was that I began to cry. Something similar happened as I saw Martha Nabwire and Niki Tsappos dance in this new documentary about them. They are hip hop dancers, among the best in the world, and seeing them on the floor or on the stage, completely disappearing into their acts, letting http://fredrikonfilm.blogspot.com/2016/03/martha-niki-2016.htmlnoreply@blogger.com (Fredrik Gustafsson)2tag:blogger.com,1999:blog-5433943533567726598.post-2624204528040922232Fri, 11 Mar 2016 08:00:00 +00002016-03-11T09:35:15.047+01:00A.O ScottcriticismDilys PowellHoward HawksJohn FordOtis FergusonTom MilneAn essay concerning the values and meanings of criticismI have written about films since 1997, more or less regularly, yet I have never actually considered myself a critic. In the beginning I felt I was not qualified enough to call myself a critic (which was just silly) and the last ten years or so I have, when asked, preferred to called myself a film historian (which I am), but still, for reasons unclear, hesitated to use the word critic. Partly I http://fredrikonfilm.blogspot.com/2016/03/an-essay-concerning-values-and-meanings.htmlnoreply@blogger.com (Fredrik Gustafsson)9tag:blogger.com,1999:blog-5433943533567726598.post-6551008544671245323Fri, 26 Feb 2016 08:00:00 +00002016-02-26T09:00:01.785+01:00aestheticsauthorshipmusicRidley ScottWalter HillWalter HillI have long had a soft spot for the films of Walter Hill. He has been doing his thing since the 1970s, although it was a long time since he was fashionable, and his films are tense, terse and focused. But they are also very stylised and often they have a ballad-like quality as if they were inspired by songs by Woody Guthrie. Often they are set in the past and often in the American south, and theyhttp://fredrikonfilm.blogspot.com/2016/02/walter-hill.htmlnoreply@blogger.com (Fredrik Gustafsson)6tag:blogger.com,1999:blog-5433943533567726598.post-7162600086589245142Fri, 12 Feb 2016 08:00:00 +00002016-02-12T09:00:16.007+01:00British cinemahistoryJames BondFrom Russia With Love (1963)"The Cold War in Istanbul will not remain cold very much longer."
Last year at least two major films about the Cold War were released, The Man from U.N.C.L.E. (Guy Ritchie 2015) and Bridge of Spies (Steven Spielberg 2015). Since the Cold War ended some 25 years ago they were of course set in the past, whereas once cold war stories were very much part of the present. One fine example is the http://fredrikonfilm.blogspot.com/2016/02/from-russia-with-love-1963.htmlnoreply@blogger.com (Fredrik Gustafsson)0tag:blogger.com,1999:blog-5433943533567726598.post-7356396707072207220Fri, 29 Jan 2016 08:00:00 +00002016-01-29T09:00:09.561+01:00aestheticshistoryJohn SturgespoliticsracismBad Day at Black Rock (1955)
What do you care about Black Rock?
I don't care anything about Black Rock. Only it just seems to me that there aren't many towns like this in America. But one town like it is enough. And because I think something kind of bad happened here, Miss Wirth, something I can't seem to find a handle to.
You don't know what you're talking about.
Well, I know this much. The rule of law has left http://fredrikonfilm.blogspot.com/2016/01/bad-day-at-black-rock-1955.htmlnoreply@blogger.com (Fredrik Gustafsson)8tag:blogger.com,1999:blog-5433943533567726598.post-4116369852685287361Fri, 29 Jan 2016 07:58:00 +00002016-01-29T08:58:07.429+01:00JapanSam FullerHouse of Bamboo (1955)Here is a bonus post. The main feature today is about Bad Day at Black Rock (John Sturges 1955) but that same year Sam Fuller made House of Bamboo on location in Japan, and like Bad Day at Black Rock it was in CinemaScope and also with Robert Ryan as the main villain, so they have things in common. It is a very Fullerian film: violent, extravagantly shot (all over Tokyo) with a very mobile camerahttp://fredrikonfilm.blogspot.com/2016/01/house-of-bamboo-1955.htmlnoreply@blogger.com (Fredrik Gustafsson)0